Isaak Soreau Frankfurt-am-Main 1604 - in or after 1645

Comte Le Redon, France;
With Galerie de Jonkheere, Paris, 1993;
With Richard Green, London, 1999.

G. Bott, Die Stillebenmaler Soreau, Binoit, Codino und Marrell in Hanau und Frankfurt 1600-1650, Hanau 2001, p. 189, no. WV.UIS.A, reproduced in reverse.

"The following condition report has been provided by Sarah Walden, an independent restorer who is not an employee of Sotheby's. This painting is on a fairly thin unbevelled panel, in a single piece probably of oak but with an unusual swirling grain, and possibly of another wood. It has no cracks or no extraneous bars behind and appears beautifully flat, although there does seem to have been flaking in the past, but this might equally have had to do with the adhesion within the paint layers or inconstant atmospheric conditions. However the panel appears to be firm and stable, and with no sign of raised paint or movement. There has been a comparatively recent restoration, and some older retouching rather less visible under UV. Much of this older retouching is in the background and on the ledge surrounding the basket. Interruptions in the original craquelure can be seen in much of this area, and particular wear in the shadow to the right of the basket, with some retouched flaking losses. There may be fewer lost flakes in the dark background and more strengthening of rather thinner paint, fairly extensively towards the sides. Certain parts of the still life itself have also clearly needed reinforcing, especially the darker grapes, which are widely retouched, while the green grapes are beautifully intact. Several patches in the oranges also seem to have been lost and retouched, one quite recently in the orange on the ledge to the left, and one or two older retouchings can be seen in the other oranges at upper left for instance and near the centre. The vine leaves are largely finely intact, sometimes slightly more transparent naturally with age, but almost all undamaged, as are the lovely orange and cherry leaves. The insects have survived well generally apart from a slightly ghostly dragonfly near the top by the grapes. The carnation and cherries are also in good condition. This report was not done under laboratory conditions."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Although almost nothing is known of his life, this striking still life is proof that Isaac Soreau travelled to Flanders, and more specifically to Antwerp. The panel bears the stamp of Michiel Vrient, a panel-maker in Antwerp whose panels can be dated to between 1605 and 1637. Soreau is recorded in Hanau until 1626 and he must therefore have been in Antwerp between 1626 and 1637, where he executed this work.¹  Like so many of his still lifes, this painting bears the unmistakable influence of the Antwerp painter Jacob van Hulsdonck and it is widely considered that Soreau spent some time in his studio. Not being a member of the guild there, Soreau would not have been able to sell his paintings under his own name and, so close is his style to Hulsdonck's, it is likely that his paintings were sold in that city as the work of his master.

Soreau was probably still in Antwerp in 1638 as a work dated to that year is a partial copy of a painting by Hulsdonck from circa 1615.²  His only other dated work is from 1645³ but by this time Soreau must have been back in Frankfurt as the painting is quite different from his earlier work and instead is clearly influenced by the leading Frankfurt still-life painter, Georg Flegel. After this date there is no further sign of life.

Soreau was born in Hanau, near Frankfurt, and was the son, and probably the pupil, of Daniel Soreau, a painter, architect and wool merchant who had emigrated from Tournai to Frankfurt by 1586. After Daniel's death in 1619 his studio was placed in the hands of Sebastien Stosskopf and it is probable that Isaak, together with his twin brother Peter (1604-before 1672), trained under him before Isaak moved to Antwerp after 1626.


1  Two other panels bear Antwerp marks: Still life with grapes and strawberries sold London, Christie's, 16 December 1998, lot 8, which bears the mark of Michiel Claessens (1590-1637), and his recently re-attributed Still life of flowers sold New York, Sotheby's, 10 January 1991, lot 99 (as Jacob van Hulsdonck), which is branded with the arms of the city of Antwerp.
2  Sold New York, Sotheby's, 11 January 1996, lot 73.
3  See G. Bott, under Literature, p. 188, no. WV.IS.50, reproduced.